Bøger udgivet af Fundacion Juan March

The first retrospective in 30 years on the immensely influential abstractionist, theorist, art-world scourge and forefather of MinimalismThe first monographic exhibition on the artist in Spain and one of the most complete surveys ever curated in Europe, Art Is Art and Everything Else Is Everything Else illustrates Ad Reinhardt‿s tremendous influence on Abstract Expressionism as well as subsequent contemporary art styles. Reinhardt‿s paintings are rarely representational and are instead composed of geometrics and eventually only color: canvases of all red, all blue, all black. Organized with the institutional support of the Ad Reinhardt Foundation, this catalog includes a selection of approximately 50 paintings and works on paper, spanning Reinhardt‿s career from early drawings, paintings and collages to later works characterized by a progressive reduction of color and form. Another focal point of the volume is Reinhardt‿s passions and artistic pursuits beyond painting, including his slides, writings on art, illustrations in newspapers, books, magazines and pamphlets, and his comics satirizing the art world and politics. Ad Reinhardt (1913‿67) was born in Buffalo, New York, and studied art history at Columbia University from 1931 to 1935, after which he participated in the WPA Federal Art Project initiative. Reinhardt soon became an official member of the newly formed American Abstract Artist group alongside painters such as Josef Albers and Jackson Pollock. He exhibited regularly and taught at Brooklyn College for the remainder of his life.

From artifacts to the avant-garde: the "Amerindian" visual aesthetic presented in a colossal and copiously illustrated catalogAfter Europeans christened two sweeping continents with hundreds of individual cultures and traditions "America," the visual culture of the "New World" became filled with reinterpretations of ancient civilizations from Alaska to Tierra del Fuego. Before América turns back the clock to examine the formation of Americanist identity from Indigenous cultures, beginning with the archeological expeditions of the 18th and 19th centuries and ending with contemporary media and popular culture. With a striking graphic cover, the book is a glorious compilation of over 800 illustrations showcasing the "Amerindian" paradigm across mediums and decades: textiles, jewelry, furniture, printed books, playing cards, movie posters, Aztec-themed hotels and contemporary artwork by Josef and Anni Albers, Cecilia Vicuña and Henry Moore. Whether subtle motifs or plain pastiches, all these examples appropriate a simulacrum of Indigenous visual culture, now full of new and fascinating meanings.

The definitive illustrated monograph on 20th-century Swiss artist, designer, and architect Max Bill, whose work spanned from graphic design and advertising typography to product and furniture design and from painting to sculpture.A true Renaissance man with a clear, unified aesthetic vision, the Swiss artist, designer, architect and writer Max Bill combined the virtues of homo faber and homo ludens throughout his intensely productive career, launching the Concrete art movement and establishing himself as the single most decisive influence on postwar Swiss graphic design. This gorgeously designed, hefty volume--the most thorough Bill overview ever published in English, and the only monograph in print--presents Bill's oeuvre both chronologically and thematically, across every facet of his multifaceted oeuvre: painting, graphic art, sculpture, architecture, book and magazine design, industrial and furniture design, graphic design and advertising typography--from large-format posters to small inserts in periodicals--as well as his designs for exhibition spaces. Bill stands out for his enormous influence on Latin American geometric art (through his 1951 retrospective at the São Paulo Museum of Modern Art), as well as for his essays, his work as an educator and his political and social concerns. All these aspects of his life and work are covered in this profusely illustrated catalogue, along with essays by scholars and a selection of previously unpublished essays by Bill himself. Max Bill (1908-94) studied at the Bauhaus from 1927 to 1928 with Wassily Kandinsky, Paul Klee and Oskar Schlemmer, after which he moved to Zurich. He cofounded the Ulm School of Design in Germany in 1951. He had his first US exhibition at the Staempfli Gallery in New York City in 1963 and was the subject of retrospectives at the Albright-Knox Art Gallery in Buffalo and the Los Angeles County Museum of Art in 1974, and the Solomon R. Guggenheim Museum in New York City in 1988.

The definitive book on Art Deco: an elegant large-format hardcover with hundreds of museum-quality color reproductions featuring exquisite examples of Art Deco jewellery, ceramics, laquer, fashion, textiles, graphic design and art workModern Taste: Art Deco in Paris, 1910-1935 offers readers an opportunity to appreciate, examine, assess and enjoy an artistic movement that defies easy definition but which has been described as "the last of the total styles" Art Deco.Comprehensive and beautifully designed, Modern Taste includes nearly 400 works in a wide array of media: painting, sculpture, furniture, fashion design, jewelry, film, architecture, glassware and ceramics are all represented, alongside the photography, drawings and advertisements that helped create "the modern taste."The book aims to question the almost total absence of Art Deco from the history of modern art and from curatorial practice, and to vindicate--as some exemplary cases did in the wake of the Deco revival from the 1970s onwards--not only the evident beauty of Art Deco but also the fascination exerted by this singularly modern phenomenon with all its cultural and artistic complexity. What we know as Art Deco was an alternative style to the avant-garde. It stood for a modernity that was pragmatic and ornamental rather than utopian and functional, and it became the great shaper of modern desire and taste, leaving its characteristic stamp on Western society in the early decades of the 20th century.An elegant and stylish addition to any design library."

Catalog of an exhibition held at Museo de Bellas Artes de Bilbao, Bilbao (Spain), December 9, 2014-April 20, 2015.

This gorgeous, clothbound, nearly 500-page volume presents a generous overview of one of the Futurist movement's most prolific and visionary figures. Fortunato Depero announced his allegiance to the Futurist cause with the manifesto "Futurist Reconstruction of the Universe" (coauthored with Giacomo Balla), and went on to attempt exactly that, traversing all disciplines--painting, sculpture, theatre and set design, poetry, graphic design, textiles and toy design--and infusing them with Futurism's joyous, energetic color palette and embrace of mechanization and speed. Depero was a pioneer in several fields: he created one of the first artist's museums, several classic artist's books (such as his famous "bolted book" of 1927) and the first artist's "factory"--the Casa d'Arte Futurista in Rovereto, Italy, which produced toys, tapestries and furniture in the Futurist style. He was also very successful as a graphic designer, and his 1932 bottle design for Campari Soda is still in production. Surveying over 300 works from the gamut of his vast output, Futurist Depero is a wonderful, rich celebration of this fascinating Futurist protagonist. Fortunato Depero (1892-1960) encountered Futurism on a visit to Florence in 1913 and quickly became one of its leading exponents. In 1928 Depero relocated to New York, the city he called the New Babel, where he lived and worked between 1928 and 1930, designing costumes for stage productions, covers for magazines including The New Yorker and Vogue, and opening the Depero Futurist House. He returned to the US in 1947, living in New Milford, Connecticut from March 1948 to October 1949, where he wrote his autobiography, So I Think, So I Paint. His works were featured prominently in the 2014 Guggenheim exhibition Italian Futurism and The Museum of Modern Art's Inventing Abstractions.

The first documentation of the legendary 1950 showdown between 18 leading abstract expressionists and the Metropolitan Museum of ArtIn 1950, 18 American abstract painters signed an open letter addressed to the president of the Metropolitan Museum of Art to express their intense disapproval of the museum's contemporaneous exhibit American Painting Today: 1950. The artists were William Baziotes, James Brooks, Fritz Bultman, Jimmy Ernst, Adolph Gottlieb, Hans Hofmann, Weldon Kees, Willem de Kooning, Robert Motherwell, Barnett Newman, Jackson Pollock, Richard Pousette-Dart, Ad Reinhardt, Mark Rothko, Theodoros Stamos, Hedda Sterne, Clyfford Still and Bradley Walker Tomlin. This artistic coalition, which included many members of the New York School and is now considered a watershed movement in mid-20th-century American art history, challenged the museum's policies for their narrow understanding of what made certain art worth exhibiting. Though they resisted being labeled as a collective, media coverage of the museum boycott, which included a now-famous group portrait in Life magazine taken by photographer Nina Leen, ultimately contributed to the success of the 18 "irascibles" in what became known as the abstract expressionist movement. This publication collects paintings by the artists, images from Leen's photoshoot and extensive documentation of the letter-writing process with relevant catalogs and magazines. Featuring more than 230 illustrations alongside original essays by several art historians and curators that examine the complex history of the New York School, this volume serves as a time capsule of the exciting period of early abstract expressionism in the United States.